About Carmen Kynard

I am an associate professor of English at St. John’s University. I am a former high school teacher with the New York City public schools/Coalition of Essential Schools and college writing instructor at the City University of New York (CUNY). I have led numerous projects focusing on issues of language, literacy, and learning: consultant for the Community Learning Centers Grant Project in Harlem, educational consultant and curriculum developer for the African Diaspora Institute/Caribbean Cultural Center of New York, instructional coordinator for the Center for Black Literature at Medgar Evers College, seminar leader for the New York City Writing Project, seminar leader for Looking Both Ways. If the conversation is truly about multiple literacies, political access/action, justice for racially subordinated communities, and critical pedagogy, I am all in! My first book with SUNY Press (2013), _Vernacular Insurrections: Race, Black Protest, and the New Century in Composition-Literacy Studies_, makes Black Freedom a 21st century literacy movement.

Happy Father’s Day to the Fathers Who Defy Patriarchy

Happy_Fathers_Day_1I once thought that I was just a weird little girl.  I have never fantasized, for instance, as a young girl or now, about the design of my wedding dress, the colors of my bridal party ensemble, the look of my imaginary husband, or location/church/flowers of my wedding (in junior high school, I decided me and Prince could be a good couple but his cross-over after Purple Rain turned me off and so I have moved on).  I do believe in celebrations but not those defined by European histories of female domesticity. I never wanted to play with a Barbie Dream House as a girl though I did have Barbies: I simply re-designed their outfits.  Poverty certainly discouraged materialism in my childhood; in contrast, creativity was inserted.  Instead of the Barbie Dream House, which we could never afford, my mother gave me cardboard and my father gave me scraps of carpet and wallpaper.  It ends up that I was, in fact, quite domestic… I made my own damn house.  Sometimes I would do a house for kids, or one for basketball players, or one for grandmothers; there was never a nuclear arrangement.   Today I realize that my girlhood was filled with alternative expectations and opportunities.

"A Father's Love" by Elliot Miller

“A Father’s Love” by Elliot Miller

My parents were divorced when I was very young so I was raised by a single mother.  Because my mother’s family disowned her after she gave birth to me, I was raised with and around my father’s very large family, a gift that I attribute to him. I have grown closer to him in my older years and, now as an adult, one of the things I realize and cherish most is that he never imposed patriarchal roles on me even though he was certainly raised in a patriarchal culture.  Today, I will set the dining room table, buy all of his dishes and glasses, recover/re-paint/re-stain/re-place his chairs and table, and I have mostly decided the furniture layout at his house. But I have never been expected to cook or wash dishes or do anything considered “woman’s work.”  My father is quite the cook so I never even equated cooking with women’s work.  Though I really like stainless steel gas ranges and have a nice one, that’s about as domestic as I get in the kitchen.   This fact leads to GREAT laughter from my father: he insists that I don’t need a fancy stove given how little cooking I do.  According to him, the only thing on my stove is dust.  He is right that my range is still newish, but there is NO dust in my house.  The way that my father delights in telling this story convinces me that he likes that I define femininity differently (i.e., buying my own home, remodeling my kitchen as my own GC, installing and deciding upon my own appliances).  In his own home, my father made a cut-out on the living room wall, like a picture frame/ plant ledge, that looks into his kitchen.  As a child, I would stand on the sofa on one side of the cut-out, peek through and talk to him as he cooked on the other side of the cut-out.  This is something that I still do now, kneeling where I once stood, always also emboldened to similarly tear down and rebuild walls in my house too.  In the summers, while he was cooking, I was outside playing softball and kickball with my childhood friend, Damon. Whenever my father did buy me things, he bought me dirtbikes, big wheels and race cars and was one of the few people who would oblige me in adorning everything in my favorite color as a child: BLUE (pink sent me into hysteria).  It didn’t occur to me until now that while he couldn’t overturn the expectations of patriarchy in his own life, he did for me.  When my female colleagues suggest that I don’t have a man because I don’t like to cook, I laugh, wonder why they have never witnessed a man cook and why their fathers let them center men in their lives.  Then my stomach starts churning when I think of who they are married to.   If I had to cook for THAT and be married to it too, wellllll, Houston, we have a problem. I’m not suggesting that cooking makes a woman domesticated, oppressed, or that it only consigns us to patriarchy; nothing is that simple.  But I am talking about imposed expectations and having a father who chose something else for his daughter.  So, on this father’s day, I am speaking as a working class black daughter: the greatest gift a father can give, the one that I received, is the rupture of patriarchal expectations.

I want the story of my father to defy a dominant cultural script. I am reminded of Denene Milner’s blog where she describes having ice cream at the mall every Friday with her father, a black man who adopted her when her biological mother left her on a doorstop; she connects that to her own husband reading The Snowy Day over and over again to his daughter at bedtime, as many times as the little girl requests.  spelhouseLove describes playing monopoly with her father, having her father always cheer for her at her track meets, and commemorating her childhood by creating an album for her that captured photos of her along with the verbal exessions she made at the time. Eric Payne at MakesMeWannaHoller.com talks about his realization that the smiles from his father have been his greatest treasures, a gift he strives to always give his own daughter.  I highlight these blogs because they might be the only media spaces where we see black men acting as fathers who know how to deeply love children and families in a world that suggests they cannot.  This seems to explain why sites like BlackAndMarriedWithKids have been so popular amongst black families since positive images and STORIES are so difficult to find.  I stress STORY here because I truly believe that you can deny a group’s humanity with the kinds of stories you tell about them.  What is told ABOUT us does not need to be what we tell ourselves though.  I am grateful for the kinds of story that I know and can tell about my father.

No, You Can’t Touch My Hair: For Karina

Early this morning, I talked with one of my former students, Karina Ozuna, who was deeply disturbed.  She is trying to make sense of the current public art exhibit going on in Union Square in New York City called “You Can Touch My Hair.”

colonialdiscourse3As you can probably tell, places like twitter are all abuzz.  Like Karina, I understand the desire for a much needed dialogue about black hair but acting like these dialogues can just happen any ol’ where and any ol’ how and outside of discussions of particular sociohistorical experiences and political realities is problematic.  Those of us in NYC know that Union Square gets marked as a hip spot given the characters the park attracts, its radical history, the statue of Gandhi, and the close proximity to places like the New School and New York University.  However, you gotta also know that the rents in that area run at about $2500.00 per month for a small studio.  Yes, I said a studio apartment: one small bathroom, one small closet, and an open space (maybe 15X30 feet) that will include your kitchen.  What might it mean to be a black woman, standing in THAT space, holding a sign asking for folk to come feel on you?  While folk take pictures. This sounds like the neo-racial (usually misnamed post-racial) version of an auction block during slavery… mixed with the infamously racist exhibits at the 1893 World Fair (which celebrated Colored People’s Day by giving all African Americans a free watermelon)… mixed with the 19th century exhibits of and experiments on Sarah Baartman, otherwise known as Venus Hottentot (as depicted in the drawing above).  You really can’t deny the similarities here. Even the designer of the public art exhibit references her inspiration from a white female friend who likened her desire and curiosity to touch black hair with wanting to touch snake skin and rabbit fur.  I love Karina’s response to all of this:

I am assuming that she probably wants to start a dialogue on black hair, and it is usually the job of the oppressed or the objectified to educate the oppressor (paraphrasing Audre Lorde), but why should I have to educate people on my hair, or let people touch it at that? Why must my hair be viewed as “the other” or not the norm?  Why is it so hard to understand that our hair does not grow straight? It is curly, kinky and nappy. My hair grows up, not down, and that is not weird, odd, or abnormal; it is nature, it is an act of God.  This exhibit feels too much like a petting zoo for me, and I’m tired of us getting treated like animals.

I’m with Karina on this one.  I’m not interested in honoring white curiosity and I wonder about the black women who are: the all-consuming fascination with and desire for white attention and approval. I am certainly up for the challenge to interrogate white curiosity of my body but I’m not talking about the kind of interrogation where I trick myself out.  I think this exhibit might confuse too many folk into thinking they can just run up on black folk and cop a feel because, let me tell you this: if someone touches my hair who isn’t my partner, cousin/family, or sista-hairdresser, their fingers gon be mine! To her credit, I think the creator of the exhibit, Antonia Opiah at unruly.com, is willing to welcome such discussions, despite her totally ahistorical and apolitical dismissal of black people who consider the public spectacle of white people running their fingers through black hair an issue of an assumed ownership of black bodies (her response to that interpretation is that such an interpretation is: “extreme and likely written out of the anger and shock of their encounters.”)  What inspires me so much about Karina and her peers is that they do not seem to be missing the 200 years of history that situates this new World Fair happening in Union Square.

I am reminded again of Karla Holloway’s work.  Holloway keeps warning us that there can be no expectation of privacy for black female bodies in our current moment.  We are witnessing an almost automated public spectacle-making of black bodies with media cartels that offer us daily consumption of the likes of Flava Flav, Real Housewives, or Tyler Perry’s newest television shows.  It makes me very nervous when black women choose to forego noticing this reality Holloway describes and, instead, work to promote it. To Karina and all of her sisters and brothers in spirit: keep holding up that righteous indignation.  I am feelin’ you.

Thank You to YouthBuild Newark!

Thank you to the young people of YouthBuild Newark who welcomed me into their minds and thoughts yesterday in our discussion of black student protest in the United States.

To Shontae, Ciara, Anthony, Cherise, Kalima, Shahid, Tiara, Hakim, Hanid, Corey, Ahmad, Joshua, Zaahirah, Oshane, Joseph, Frantz, Takiyah,and  Hadiyyah… much love to you all.   I apologize for the misspellings here (and there are probably many, EVEN after Takiyah and Hadiyyah pulled me aside and gave me the necessary tutorial!)  I especially appreciated the discussions we had about the role of materialism in preventing black communities from realizing and pursuing the political protest history that is our tradition.

Nela Navaro

Nela Navaro

And, of course, thank you to my dear friend and sista, Nela Navarro, for inviting me to meet with these young people and for the wonderful work you do with the Center for the Study of Genocide, Conflict Resolution, and Human Rights at Rutgers University on the Newark and New Brunswick campuses.  I am grateful for your vision and passion in naming and doing that work as an educational praxis!

Remembering Maya Angelou: “Everybody Takes Their Chance By Taking a Chance On Us”

angelou-picEvery semester, one of my students references or presents one of the following two poems by Maya Angelou: “Still I Rise” or “Phenomenal Woman.”  I think back to the first time I heard those two poems and I remember their stunning impact on me too.  Nevertheless, I get nervous now that Angelou’s work, especially these two poems, are completely commodified and co-opted such that any radical representation of black women in her writing is gone.  Of course, nothing I am saying here is new.  I have especially liked Cheryl Higashida’s discussion of Angelou in her book, Black Internationalist Feminism, where Higashida reads Angelou’s autobiographies as the legacy of black women’s work in the post-World War II anti-colonialist Black Left.  Higashida achieves a nice balance: she acknowledges Angelou’s presence as a Pan African radical; she criticizes the ways that Angelou oftentimes undoes the collective action and consciousness of the Black Left by celebrating individualist (and, thus, capitalist/neoliberalist)  triumph and achievement.   These two poles do not have to be opposing though.  Like I already showed just with black women’s scarf wrapping styles, you can be a bold and emboldened individual and part of a collective too: it just depends on the ideologies you use to situate that individuality.  Black women are often co-opted by mainstream audiences who, in turn, force Angelou’s revolutionary politics into the background by only celebrating the notion of a rise of phenomenal individuals.  Higashida gives me a way to resuscitate Angelou’s fierce Black Feminist Left/Internationalism since, more often than not, that is deliberately erased from view in public celebrations of her work, including those celebrations by mainstream black academics and popular black celebrities.  This ain’t no surprise though now is it?  Put a black woman’s words in the mouths of misogynistic men, undercover-racist white folk who just want folk of color to join the mainstream, or bougsie/wanna-be-rich-and-famous black folk and the message will surely lose its meaning.  Hardly a coincidence.

This semester was a bit of a switch with the video below that one student asked us to watch in my  class. This video features an interview with Maya Angelou after shock jock, Don Imus, authorized himself to call black women on the Rutgers Basketball team out of their names. In that interview, Angelou calls out black men who publicly call black women b**ches but who would never do such a thing with white women in power, giving the then president’s wife, Laura Bush, as an example. I found her most compelling when she responds to Russell Simmon’s comments (at 1:32):

In the beginning of the interview, Angelou erases racial and gendered specificity by calling all vulgarity the same and marking all speakers the same— that’s just not historically accurate as any rhetorician would tell you.  But then the FIRE comes, you can even feel a palpable difference in her speech and vibe. As she states, if black men called white women in power B-words, they would see how powerful they are: “see how long you will live.  There wouldn’t be enough rope to hang your butts.”  This is Angelou at her finest: a poetic way to basically call these men cowards and coons. Angelou goes on to remind us that black women “are last on the totem pole” which means that “everybody has the chance to take a chance on us.”  Again, Angelou at her finest: another poetic way to show that the deliberate degradation of black women by black men for public consumption (while being too scared to do the same with non-black women) only makes you a stupid fool and sell-out. This is the Maya Angelou that mainstream America doesn’t readily present to us: one who locates words and experiences in the unique bodies and historical experiences of black women.  Like she says, there is a reason black men and white men feel so free and comfortable to call women of African descent B-words and no other group.  She leaves it up to imagination and drops off a powerful suggestion at the end, at least this is how I hear it: keeping taking your chance by taking a chance on us and see how we handle your stupid butts!

What Angelou teaches me (and I would say that the same thing is now happening with Ntozake Shange and For Colored Girls) is that I must teach how and why black women’s writings get co-opted… and participate in uncomfortable conversations of how we ourselves participate in this.  It ain’t just the rap video vixens who are out here shaking their behinds for public consumption and pseudo-access to white male power. It’s an important lesson for understanding capitalism, black women, and black women’s rhetoric.